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Feature Reviews:
 Bjork - Volta  Dimmu Borgir - In Sorte Diaboli  The Exies - A Modern Way Of Living With The Truth  Linkin Park - Minutes To Midnight  Low Level Flight - Urgency  See You Next Tuesday - Parasite  Various Artists - Punk Goes Acoustic 2  Various Artists - Spider-Man 3: Music From And Inspired By Other Reviews: |
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 1997 A Better View Of The Rising Moon 4.5/5 Who It’s For: Enthusiasts of good pop-style music. Sounds Like: The Hush Sound, but better. 1997 might not be a band you’ve heard of unless they’ve played a show you’ve been at. They can be hard to stumble across on the net and frankly, I had a hard time finding anything about the Chicago-based quintet. As for their music, they mix up a ton of catchy pop elements with some harder, rock style guitars and lace it with male and female vocals that harmonize wonderfully. Lyrically, they show some talent and have lines that are good enough to make your MSN name as emo as ever. A Better View Of The Moon Rising is one of those albums that make you crave the sun of summer and its release is perfect timing. With its upbeat tones and playful tone, this could be my Hellogoodbye of 2007. - Dan Bilicki  Scott Blasey Travelin’ On 4.5/5 Who It’s For: People who enjoy/play acoustic guitar, sitting around on a patio with a few beers Sounds Like: Jack Johnson, Neil Young Scott Blasey is a cunning lad. At first, listening to his album had me fearful that it would be generic acoustic-driven crooning; in essence, fear that it would be boring as hell. Scott knows, it seems, just how to maintain variety and make his songs surprisingly listener friendly. The songs have a certain Beach Boys, 50’s beach rock feel at times, yet others are very modern, chilled, and simplistic acoustic jam oriented. Scott’s vocals are simple, yet alongside the understated, cool vibe they mesh perfectly. When he employs the electric guitar, it is so crisp and clean that it comes off very campy and fluidly. Scott even attempts some ‘jazz’ at times; such as “Little Sophia,” which is comical yet emits genuine feeling and an intimacy which is pleasant and lighthearted. Definite listens are “Bird On A Wire,” “Baby You’re My Saving Grace,” and “Time To Go.” - Kate Davis  Boys Like Girls S/T 3.5/5 Who It’s For: Little boys and little girls everywhere Sounds Like: Really poppy pop-punk. After listening to Boys Like Girls, I feel like I may have to have one, or even both of my feet amputated due to the progression of diabetes that this severely sugar-coated band has bestowed on me. Their album has more hooks than a shrimping boat and sounds like a conglomeration of all the major pop-punk bands out right now. All-American Rejects, The Academy Is, Jimmy Eat World and Dashboard Confessional are all listed as their influences and it really shows through their music how much they did to sculpt the band. Singer Martin Johnson has quite a high voice but uses it surprisingly well. Often singers with his style of voice fail to use it well but Johnson does a better than adequate job. Boys Like Girls are exactly the type of band that will get one of their songs stuck in your head, for better or for worse is up to you. - Dan Bilicki  Byzantine Salvation 4/5 Who It’s For: Metalheads Sounds Like: Meshuggah, King Crimson Finally, Byzantine have a DVD. The best kept secret in West Virginia have been skirting the edges of the underground for years now, without much of the recognition they so richly deserve. Best described as a tech-thrash band with a hint of prog-rock, Byzantine aren’t messing around when it comes to their music. This, their first DVD, comes packed to the brim with extras. Interviews, photo galleries, behind the scenes clips, you name it and this DVD has it. It even has some in-depth guitar and bass tutorials recorded by the band members themselves. The only reason this DVD didn’t get a perfect score is that the live footage isn’t near long enough. Seriously, 30 minutes does nothing but get you ready for so much more. But I guess you just can’t please everyone. - Spencer Lavigne  The Cliks Snakehouse 4/5 Who It’s For: Pop fans who don’t realize what they are missing. Sounds Like: British Indie rock hailing from Toronto When you hear a rock version of Justin Timberlake’s hit song “Cry Me A River” and it’s really, really good, you know you have a special band on your hands. The Cliks not only impress with their Justin Timberlake knock off but with their original songs as well. The lead singer’s raspy at time vocals mixed the melody of a well performing rock band make this album a really fun listen. Snakehouse is the perfect disc to mix with friends and drinks. - Julie Hunter  Peter Elkas Wall Of Fire 3/5 Peter Elkas’ latest offering is the type of album you would put on when you’re busy doing something and want a little background music that you don’t plan on paying much attention to. This is a shame, because Elkas’ soulful vocal delivery of sweet, poignant love songs deserves a listen; however, the emotion he’s trying to get across is sometimes lost beneath the glossy sheen of overproduction on many of the tracks. The musical arrangements verge on predictable, but little unexpected touches like the harmonica solo on “Sweet Nancy” save the album from being overly uniform. The title track perfectly showcases what the whole album is all about: smooth, laid back lounge-y pieces with good lyrics. “Fall Apart Again” sadly falls into the inoffensive but cheesy category, and the rest of the tracks are more or less the same. This album’s got a lot of potential, and it leaves one itching to hear what he could do with a more bare-boned and less structured approach. - Arianna Perricone  Fightstar Grand Unification 3/5 Who It’s For: People who enjoy the generic, ear-pleasing sounds of modern alternative rock Sounds Like: Audiovent, new Ataris, and new Silverchair Grand Unification is an album which, when listened to wholly, has the aftertaste of radio-friendly, unobtrusive alt-rock. Each song is just melodic enough to hold the listeners interest, yet there is nothing new about the songs to make the album standout as something increasingly innovative and exciting. This, however, is not necessarily a bad thing, and Fightstar has a knack for adding a few deviant sounds to each song to remove it from its generic monotony. For instance, the band tends to use very heavy guitar riffs-bordering on metal at points-to jazz up the typical flow of certain tunes; most notably on “Grand Unification Pt.1.” Lead singer, Alex Westaway, has just enough vocal punch to flesh out the songs, yet the emphasis seems to be consistently on the guitars, which hold precedence with their engaging riffs buffering each tune. Notable, well-rounded songs include “Mono,” “Waste A Moment,” and “Paint Your Target.” - Kate Davis  HELLYEAH S/T 3/5 Sounds Like: Nothingface, Bloodsimple, and Pantera After several years of conflicting schedules, this album finally sees the light of day. This “supergroup” consists of members of Pantera, Mudvayne and Nothingface, but is never quite as angular or jarring as any of the aforementioned groups. Instead, they opt to create their own kind of stripped down, balls out slab of solid metal. Nothing more, nothing less. Even with the thunderous drums anchoring this disc, it never once becomes too bottom heavy or sludgy, just pulses with the pounding energy that was a Pantera trademark for years. Overall, it seems to be the strong production and arranging, coupled with some very strong performances that are this album's saving graces. More a statement of intent than a musical force, Hellyeah sure are determined to get our attention. This disc never quite equals the sum of it parts, but it sure has a helluva time trying. - Spencer Lavigne  Mick Boogie and Lupe Fiasco It Was Written (Mixtape) 3/5 Who It’s For: Lupe fans or people who want to check out Lupe post-hype. Sounds Like: A looser version of “Food and Liquor” Mixtapes are one of the most fascinating aspects of the hip hop business industry. For artists like 50 Cent and The Diplomats, they are a great way to build up a buzz for future successes. The Clipse famously released blistering mixtapes as a way to keep their name alive while they waited for their record label trouble to be resolved. However, it’s a bit unclear how exactly a mixtape would best serve an artist like Lupe Fiasco. One of the most hyped artists of the last two years, Chicago’s Lupe Fiasco teams up with DJ Mick Boogie to create a much breezier album than the heavily labored on Food and Liquor. Named after Nas’ second album and Lupe’s favorite album, Lupe revisits older material with a live band version of “Kick, Push” and remixes of “I Gotcha” and “Daydream.” He also gets a chance to express his thoughts on how his album leaked on the Internet and drops a promo for his Reebok shoes. With tracks like “FNF Dynasty” and “Ghetto Story,” It Was Written allows people a little more of a look on Lupe’s personality without taking any of the shine away from his lyrical skill. - Andrew Chin  Moka Only Vermilion 4/5 Who It’s For: You! Sounds Like: Stanky Soul. As a former member of Len and the hook singer for most of Swollen Member’s biggest hits, Vancouver’s Moka Only is going to have to deal with a bit of skepticism. The case for his latest album doesn’t look good when he reveals that the album dates back to 2005. However, the extra time he spent remixing and editing the album was well worth it. Vermilion sounds great with a spacey but smooth sound. On tracks like “God Bless,” he manages to create an inspirational song without sounding corny. With other songs like “Cheeka Cheeka” he retains a sense of playfulness that runs throughout the album. The most impressive part of Vermilion is that Moka Only has managed to create a cohesive album that doesn’t sound redundant. The confidence that Moka Only has in this album can be heard when he ends the album with a hidden cover of a classic 80’s song. You may not like his rendition or even the song but you can’t help but admire Moka Only for confounding expectations. - Andrew Chin  One Man Army And The Undead Quartet Error In Evolution 3.5/5 Who It’s For: Those dudes that swear Swedish metal is the greatest thing ever Sounds Like: At The Gates, The Crown, Devil Driver A more than competent thrash metal affair from start to finish, the death metal leanings that One Man Army And The Undead Quartet add to Error In Evolution make the album all the more aggressive. This is the band’s second full length, and it shows that the band are definitely a force to be reckoned with in the Swedish metal world. The band also seems to be more stable than vocalist Johan Lindstrand’s previous band The Crown. Some highlights of Error In Evolution are the obvious tribute to glam rockers KISS in the song aptly titled “Knights In Satan’s Service” and the Alice Cooper cover “He’s Back (The Man Behind The Mask)” as the latter breaks the monotony with some cleanly sung vocals. Vocally Lindstrand, at times, sounds like a combo of Devil Driver’s Dez Fafara and Gizmachi’s Sean Kane. The sometimes over-the-top talk of the devil and suicide is a bit overdramatic but that seems to be par for the course when it comes to metal, right? Overall a very metal record, Error In Evolution shouldn’t disappoint, but it may not get a lot of repeat listens. - Michael Kopko  Static-X Cannibal 3.5/5 Who It’s For: Speed freaks and kids in big pants. Sounds Like: Ministry, Rob Zombie, and Slipknot Industrial thrashers Static-X return with their fifth record, Cannibal, which could easily be their best effort since their debut: Wisconsin Death Trip. Finally making the transition from Nu-metal to full out industrial, the band hones its heavy-hitting approach to near perfection with new songs like “Goat,” “Cannibal,” and “No Submission,” all the while treading the line between innovation and familiarity. Much like Ministry (without the snarky humor) Static-X take full advantage of their strengths: sparse arrangements, throat shredding vocals and the occasional flourish of jet-fueled disco beats. Smash all this together with newly rejoined guitarist Kochi Fukuda’s guitar hero soloing and you’ve got one hell of a metal record. If this record is to be their rallying cry, well, we heard you. Loud and clear. - Spencer Lavigne  Travis The Boy With No Name 4/5 Who It’s For: Fans of snivelling, Brit rock who should really be listening to something better Sounds Like: Travis, only slightly more grown up Many bands claim to be underappreciated, but very few actually are. Travis are one of those few. The Scottish band has influenced everyone from Coldplay (Chris Martin premiered “Big Chair” on BBC’s Radio 1) to Snow Patrol. But the fact remains, although Travis is leaps and bounds better than both those bands, they’re the least popular. Why, is a mystery, but The Boy With No Name isn’t likely to boost them to the top of the pile. The disc gets off to a slow start with “3 Times And You Lose,” which takes quite a while to pick up and really doesn’t get much more interesting. But it leads into “Selfish Jean,” which is a catchy, alt-rock song at its best. By your second listen, you’ll be bobbing your head and singing along. With an almost completely ballad like track listing, it’s songs like the quicker “Under The Moonlight” and pretty “Out In Space” that make listening worthwhile. Each song might not be a single, but as a whole it’s a solid album that could and should replace bands like Keane from your playlists. Now if only they could outsell them too. - Alyssa Caplin  Paul Wall Get Money, Stay True 3.5/5 Who It’s For: People who can’t get enough of Houston. Sounds Like: Music for the people. The sophomore album is one of the most challenging albums for an artist to complete. After all, you can alienate your fans if you try to switch up your sound too much but also if you don’t switch it up enough. For the follow up to his successful debut album, The People’s Champion, Houston’s Paul Wall focuses on creating hard edged, mid tempo anthems that document the grind. As well known for his side business of creating grillz, Wall is one of the most likable figures in hip hop. His collaboration with Snoop Dogg on “Everybody Know Me” and Juelz Santana on “I’m Real, What Are You” are fine, but after awhile you wish there were more funky anthems like “Bangin’ Screw.” - Andrew Chin |
 All Smiles Ten Readings Of A Warning 3.8/5 Who It’s For: Kicking back on a Friday, putting this on, mellowing out, and skinning up. Sounds Like: Sitting around a campfire in the middle of the desert in the ‘70s just after even more people you know have just gone into rehab. Some of us consider there to be only a handful of bands who are really ‘lo-fi,’ that is who play their instruments seemingly below their ability, and end up with scrappy results much more satisfying than if they had been polished by, say, Timbaland. Pavement embodied lo-fi, Guided By Voices were masterful, and Grandaddy offered a countrified blend. Pity they’ve all split up. It’s a pleasure, then, to hear All Smiles AKA Jim Fairchild AKA axe-wielder from Grandaddy putting out a solo album. Made up of songs Mr. Fairchild had been working on prior to the collapse of the band, Ten Readings Of A Warning is a bit Brian Wilson era 1969 - sunny, sparse (for the most part), druggy, not entirely sure where it wants to go... and then you’ll catch one of those clever introspective vignettes and think “Ah, where did it all go wrong?” “Moth In A Cloud Of Smoke” is a big crowd-pleasing centrepiece, around which you’ll find perfectly lazy fuzz on “Killing Sheep” and the swimming-pool- drowned-on-Prozac of “Leave Love.” Understated, and even more charming for it. - Kid Lupin  Bleed The Dream Killer Inside 2.5/5 Who It’s For: Possibly the Warped Tour crowd or even the Family Values crowd. Sounds Like: Edgy rock If your first run in with Bleed The Dream surrounded their first release on Warcon Records, you must be warned that this is not the same band you grew to love or hate. Since the recording of that album they lost their drummer to cancer and more recently found a new singer. Their new singer, Mark Holmes, sounds nothing like Brandon Thomas giving BTD a whole new feel. They were previously headed down the emo/screamo, but that is all gone. They have picked up an edgier and almost more unique feel because so many bands are doing what they were. They have moved into a harder scene of rock making for something that few bands nowadays are doing (think 30 Seconds To Mars with less ego and more punk style). Their downfall is trying to make that point come across too hard. Every song has that same feel, making each song run right into the next. I think as learn together they will perfect that sound to have something special. Killer Inside feels like a first disc even though it’s not. It’s okay, but there are no songs that truly stand out. - Stephanie Joudrey  Michael Buble Call Me Irresponsible 3.9/5 Who It’s For: Probably your mom, but that makes me sad. Sounds Like: If you don’t know, get out from under your rock. It’s big band covers. I’ve been teased for being the youngest Michael Buble fan in the world, and that’s just fine. Buble is back after his huge last album. He’s still leading a genre that some people find hard to believe actually needs filling, by singing some great big band covers. Call Me Irresponsible is not as great as the last disc that put his name on everyone’s lips. That said it will still make you smile just because he’s doing it and sounds so good while he does, like the way his voice shines on “Me And Mrs. Jones.” It opens big with “The Best Is Yet To Come” and runs through some well known classics, such as the title track and “I’ve Got The World On A String.” He doesn’t stick to big band this time either coving Leonard Cohen’s “I’m Your Man” making you wonder what else could come next. The disc should have ended on the big well-known Sinatra classic “That’s Life,” but it still has on song left, which makes it feel out of place. But if that’s my biggest complaint I’m just fine. The funny thing is that the two original tracks on the disc, the first single “Everything” and “Lost” which was co-written with Jann Arden, are the best songs on the album. That proves that whether you love him or not, he has the talent to stay around after the covers are done. - Stephanie Joudrey  The Chariot The Fiancée 3.5/5 Who It’s For: That skinny nerdy kid that goes to hardcore shows wearing tight t-shirts and Christian hardcore kids. Sounds Like: Norma Jean, Botch, Deadguy Former Norma Jean frontman Josh Scogin returns with his band The Chariot and their second official full length. The album features some very clean production, which is a stark difference from their first full length. Another difference from their first album is the change of members, which is too long to list- let’s just say Scogin is the only name you might recognize in the liner notes. With that being said The Fiancée isn’t a departure from The Chariot’s sound, if anything, the band has added some occasional punk rock riffing. Overall, the playing is frantic and full of big riffs and hooks. As well, slightly distorted screams over groovy tech metal breakdowns and head bangs make up the sound of The Fiancée. Hayley Williams, vocalist of the pop punk outfit Paramore makes a cameo on the track “Then Came To Kill,” a re-recorded version of "Kenny Gibler (Play The Piano Like A Disease)” from The Chariot’s Unsung EP, adding a lovely little melodic vocal contrast. As for the last track on the disc “The Trumpet,” you might want to skip it, as it isn’t a The Chariot song at all. It isn’t awful; it’s just that you might not want to hear a full on Gospel choir, called The Sacred Harp Singers, perform a hymn of some sort. They actually also appear on the end of track four, “And Shot Each Other, “adding their choral vocals to the aggressiveness of the song. One last thing, listen closely to track five “The Deaf Policeman”- the band decides to borrow a riff from Nirvana’s “Tourette’s”… Let the scrutiny and criticism begin. - Michael Kopko  Cold War Kids Robbers And Cowards 4/5 Who It’s For: People currently using Avril Lavigne’s new album as a beer-mat. You know who you are. Sounds Like: Sadly, no comparison can be made. Think bell-like guitars, yelping vocals, and a bit of an alt-indie vibe going on. Ish. It’s hard not to feel that more fuss should be made of Cold War Kids. They’ve firmly tied down a distinctive sound, worked up a thumping live show, and written some cracking songs that nag at you during business meetings. I guess we’re all just used to debut albums being so good these days. Perhaps by their third effort we’ll be more excited. But for the meantime, get stuck into Robbers And Cowards, even if no one else is. “We Used To Vacation” is the strongest opener and best song about the evils of the Bottle in years, and big single “Hang Me Out To Dry” knocks the posers’ art-punk on its ass with its despondent bass line and clanging guitars. It’s funny, but the vibe Robbers And Cowards most gives off is that of 21st Century Spirituals. Sure it’s easy to hear on the proverb-esque “Saint John,” but “Tell Me In The Morning” or the superb “God Make Up Your Mind” are the stuff of the modern chain-gang. Very distinctive, and more than worth your time. - Kid Lupin  Fields Everything Last Winter 4.5/5 Who It’s For: People with an open mind and open ears. Sounds Like: You name it; this band has been compared to virtually everybody. Already a hit in the UK, Fields are the next big thing to hit North American soil from across the Atlantic. Featuring a male-female dynamic not present in most modern music, the band has done well to forge itself an audience in such a short lifespan. From the opening alarm-like guitar riff of the first track, “Song For The Fields,” you get a sense of urgency from Fields’ debut release. Sounding at times like everyone from Soundtrack Of Our Lives (“Song For The Fields”), to Explosions In The Sky (“Feathers”) to Canada’s own Sloan (“Charming The Flames”) the band still manages to take all of these diverging sounds and mold them into their own, creating one of the best CDs to be released so far this year. - Ryan O’Shaughnessy  Illinois What The Hell Do I Know? EP 5/5 Who It’s For: Fans of British rock, alt-country, classic rock, folk, you name it. Sounds Like: The CD I’ve been waiting for all year. Every now and then a band comes along that you just can’t stop listening to, that you tell all of your friends about. You rave about in whatever way you possibly can, be it MySpace, Facebook, or whatever. Even though they’ve only got a seven song EP filled with catchy pop hooks, piano melodies and banjo twangs, it’s your favourite thing to listen to for twenty minutes of the day. You do your best to spread the word, hoping that everybody catches on to what you feel is the “next big thing.” “Listen to Illinois!” you tell them, in hopes that they’ll listen to you and feel the same way. So do yourself a favour and go to http://www.myspace.com/illinois and see why you’re bound to rave about this band the way that I do. - Ryan O’Shaughnessy  Kid Gib Kid Gib 2.4/5 Who It’s For: People who saw them in concert and liked them Sounds Like: A middle-of-the-road southern Ontario band Like most bands from the greater Toronto area and Southern Ontario, Kid Gib will more than likely toil around the scene before going out on an ill-fated cross-Canada tour that will help them realize they aren’t good enough to make it. Their music is nothing new and brings little-to-nothing to the table. They throw out the same hooks as every other band in their scene does and the lyrics aren’t memorable and don’t seem to resonate. Their MySpace site claims this album has “11 pure punk rock anthems” which nearly made me laugh out loud. This is not punk rock; there’s nothing punk about this album in fact. If you’re out looking for punk skip over this album and go buy some old Pennywise. - Dan Bilicki  Manowar Gods Of War 2.5/5 Who It’s For: Vikings Sounds Like: Neo classical heavy metal Well, love ‘em or hate ‘em, they’re back. This time Manowar give us the first volume in their upcoming cycle of albums, each a tribute to a different war god. Yeah, you read that correctly. Anyways, this disc is a tribute to Odin, father of the Norse gods. The main problem with this album is that, like most of their catalogue, Manowar has loaded this one with all the clichés that make them either “gods” or little more than an amusing joke; depending on how you look at it. Soaring vocals and shredding guitars dominate the mix for the most of the album, making this record faster and thrashier than their last few outings. And let me tell you, these guys can play. The main problem is that while trying to come off gallant and heroic, it ends up coming off more as self-parody. Technically and lyrically beyond anything they’ve done in the past, it just ends up sounding like really really loud Spinal Tap. - Spencer Lavigne  Stevie Nicks Crystal Visions: The Very Best Of 5/5 Who It’s For: Everyone Sounds Like: Stevie at her best Whenever you hear Stevie Nicks sing, the first thing that blows you away is that voice – there just isn’t any other female singer alive who can capture and allure an audience quite like she can – only to be followed by a close second, her style. With Nicks’ greatest hits album all of her voice and style are laid out in front of the listener with some of her best solo work and Fleetwood Mac tracks and duets with both Tom Petty and Don Henley. There is even a rendition of “Landslide” accompanied by The Melbourne Symphony Orchestra that brings this remarkable track to a whole new level. When it comes to Stevie Nicks you are never disappointed and she proves that again with this greatest hits album which is an integral disc for any serious collector. - Julie Hunter  Social Code S/T 4/5 Who It’s For: Everyone who likes radio rock should at least give them a try. Sounds Like: Cool pop punk If you’re from Canada, you may remember a little song from a few years back called “Beautiful.” It still gets some air time now because it’s so catchy. Well, after quite a few years Social Code is back with probably the perfect sophomore record. There is not much for you to complain about. The first single “Bomb Hands” shows the energy of almost the whole disc, but isn’t really an example of what to expect. Even in the slower songs Social Code have personality and energy that comes across. “He Said, She Said” is a fast paced disc opener that makes you want to listen right to end and “10 Seconds To Go” is a great danceable track with club hit potential. There’s an edginess that comes across from the way Travis Nesbitt sings and makes the meaning in songs like “The Best You Never Had” really come across. Social Code have a tendency to sound the same from song to song, but that’s not a bad thing. They have self-recorded and self-produced this disc and that love comes through every song. You can tell Social Code worked hard to make an impact, so the least you could do is give it a spin. - Stephanie Joudrey Archived Reviews: April 15, 2007: The Academy Is..., City And Colour, El-P, Evidence, Good Charlotte, Machine Head and more... April 1, 2007: Clutch, Kieran Hebden And Steve Reid, Notorious B.I.G., The Ponys, Type O Negative and more... March 1, 2007: The Ataris, Classic Case, The Fratellis, Nine Inch Nails, The Used and more... February 15, 2007: Bloc Party, Crush Luther, The End, Fall Out Boy, Kenny Wayne Shepherd and more... February 1, 2007: Daughtry, Dustin Kensrue, The Good The Bad And The Queen, The Shins and more... January 15, 2007: Brian McKnight, Tom Waits, Youth Group and more... December 20, 2006: Isis, Justin Nozuka and The Holiday Review Section December 1, 2006: Brand New, Incubus, The Pixies and more... November 15, 2006: Deftones, Lady Sovereign, Matt Mays, The Prize Fighter Inferno, Robbie Williams and more... November 1, 2006: My Chemical Romance, The Rasmus, Sparta, The Tragically Hip and more... October 15, 2006: Evanescence, The Killers, K-Os, Seemless and more..... October 1, 2006: John Mayer, Helmet, Method Man, Ryan Star and more.... February 2006 - September 2006: A-F G-M N-S T-Z © 2007, All Rights Reserved |
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